tv [untitled] April 30, 2012 7:00pm-7:30pm PDT
successful, we need your support to help programs like boys and girl's club, and san francisco a lot. thanks to everyone and our supervisor, jane kim. [applause] >> i am linda wong, representing the tnederloitenderloin boys ans club. there are a lot of programs and many kids had experiences like mine. basically, the boys and girls
clubs help me. i was not thinking of going to college, because i thought that they would cut the budget. taking everything away from me, and when no one believed in me, they believed in me. thank you. >> i will call another group of speakers. we have about five more minutes. i will call these names. henry carnilowitz, scott piper, daniel landry, jaela anderson, and john mark johnson.
>> good evening. i would like to thank jane kim for making this happen. south of market -- as we know, small businesses are the economic and cultural engine of a city. this needs fuel to keel to keep running. the organization i speka of ak of is urban solutions. i would urge you to make the funds available. particularly in areas like sixth street and bayview and tenderloin. i urge you to set funds aside for that. and one last thing, good to see you here. one speaker said, the police
station. we would like to see it happen. thank you very much. >> hello. i am john mark johnson, and i work in district six. the city contractor with the direct access -- i wanted to advocate not to throcut funding for the direct access program. the relocation of 109 people would leave 109 eoplpeolpple who are homeless homeless. it would cost around $2 million the first year. it doesn't make sense we we
would cut -- we would cut housong aning and leave our most vulnerable people on the street without the support that they need. [applause] >> first, thank you. the supervisors -- the call in the town hall meeting. i am daniel landry. i was born and raised in the western addition. what i hear is about economics, i am a small-business owner and was impacted by the redevelopment era. my question, and my thought is that, can we find a way to make certain that those who have been impacted by the redevelopment agency have opportunities,
economically, and for housing? the beat goes on. it may seem like the sunset of the redevelopment agency may be happy for some state officials, but some of us have been left behind. a few years ago we took the delegation to vallejo, and warned ossie dviavis they were on trouble. the city went bankrupt. this is about how you treat the poor. at the end of the day, nations and states and localities have failed because the poor people do not have an opportunity. i want to put that in the front burner. i thank you for coming out and sharing the information you have on the city budget, thank you. [applause] >> fantastic ideas that we have
heard here today. thank you, mayor and supervisors were coming out to hear these ideas. the arts are an incredible value add to san francisco. we bring in an enormous amount to the tourism budget. we hvave some funding with the hotel task fund. it has gone into the general fund, and we have a chance that is about to be completed for the 1% for public arts, and is being expanded. thank you, to a large amount of the soma area, and we want to make sure we don't lose this with the new housing developments coming up. there are chances to feed into
this and it benefits the members of those programs. consider reinstating these areas and as we discussed affordable housong foing for the redevelopment agency, make sure this is included. i hope to see a continued san francisco existence for us. thank you. >> can we give it up one more time for everyone who spoke today? [applause] i know we talk about dollars and cents, but it comes down to how it effects people's lives. all of us, business owners, artists, we make twork togethero make this the best city it can
be. this is just the start of the budget process. there will be five more of these and budget hearings. we have heard from everyone about a lot of important issues. i ask you to be involved and bring your family to see how these issues effect everyone's everyday life. thank you all, one more time. [applause] >> and so we are going to close. >> give it up for lisha. [applause] >> thank you. it is loud. thank you agian. my role is to thank you. this is your valualbble time. thank you for coming out. i want to thank tenderloin
elementary school. and just an example -- this school was able to develop a partnership for free dental care. it is really amazing. i want to recognize the mayor's office of immigrant affairs for translation service, and adrian for working with us, and sfgtv for recording this, and you can watch it to test the words. i want to thank my staff, they spent a lot of time on this. there wil lbe more town halls. supervisor olague will announce her next, and thank you. >> i would like to thank ed lee,
for years i have organized this event. this seat was always empty. i want to thank hom for engaging with all of us and sharing the priority for the district. as promised, there will be more opportunities for you to express your feelings about the budget priorities. we will have this pariapril 25 t the county fair building. there are fliers as you leave. i want to thank you for coming and sharing your priority with us. we will work hard to meet those priorities. thank you. [applause] >> well, we certainly got off to
a good start. last year, when we started this, -- i will tell you, one reason why i think there are a lot of programs that are safe is because you conducted yourself in a way we listened very carefully because he represented yourselves well. people often say that we are a very rich city. i think that we are a rich city not just because we have a budget of $6.80 billion, we are rich because of the diversity represented in this room, and you are willing to give us your involvement and your ideas, and to give us your passion. i have a lot of notes here and i know that the department's that our represented here took a lot of notes as well.
when you talk about seniors and emigrants, youth, all of these programs, all of the diverse populations that exist here, we listened very carefully tonight. we will take this under very serious consideration when we make these decisions. it is these opportunities that we have, that tell us what is important. and we listened very carefully over the substance that you are saying to us. this will be reflected in the balanced budget. thank you for your courtesy. thank you very much. >> and i want to recognize dominica henderson and judy bee, and thank you, thank you for coming.
it is make great honor to introduce, to present this program today. just a few things come out of respect, photography is allowed, but no flash photography. we will be taking questions from the audience, and you can submit your questions either through twitter or e-mail, and we also handed out cards to you when you arrived. the questions will happen at the end of the program. if you are not planning to tweet or e-mail, please turn your cellphone off. again, it is my great honor to have this program and conversation between susie and jean paul gaultier. i feel very fortunate at the fine arts museum because in fact susie mencus' son lives in the bay area and she comes frequently to visit the family.
it is always my favorite time of in the exhibition, when she comes and i get to walk through the exhibition with her. it is so learnful. i wanted to share that opportunity with the rest of the bay area. one of my favorites, during the laurent exhibition, one of my favorite moments is one suzy stopped in her tracks. she said, this is it, this is what is true of any great artist or any great designer. when they do something, it can be shocking and avant-garde, but years later, we stand and look at it and believe it has always existed. i think that this is true of jean paul gaultier's work. i know that have been friends for a very long time. it is my honor to introduce both suzy menkes, fashion editor of the international herald tribune, and mr. jean paul gaultier.
[applause] >> the love seat. [laughter] i just want to know, can you hear me? please shout loudly if you cannot. [laughter] yes or no, you can hear? >> somebody said no. >> mic people, can i be heard? should i start? ok, good. so before i introduced one of the funniest, wittiest, most amusing and funkiest designers that i know, i would like to start with something a little bit more serious. you know, in fashion, the reason that people laughed seem obvious
when you see the exhibition of all it's incredible glory and excitement. but at the same time, there were real reasons why designers laughed, and one of them, when it comes to jean paul gaultier, is probably what is talked about least. it is the technique, the skill, the handwork, the knowledge. sometimes it gets buried underneath the fantasies of the close. but if you look hard, particularly those of you are going to go to the exhibition afterwards, if you look on one side to see the incredible punk can-can clothes, while, exciting, a waterfall. then you look at the central lie all which is the per region and parts, you'll see the extraordinary crest -- kraft mentioned that can turn address and to have a jacket and half the skirt or can make a trench coat one of jean paul
gaultier's iconic pieces and send it that is a trenchcoat but is also a pair of shorts. these kind of things, they're not tricks. their works of extraordinary skill. if you search in the exhibition, you will find that. you'll see the very early years that jean paul spend when he was learning paris couture. eglin said this young man looking very serious as he sits -- you will see this young man looking very serious as he sits and you will realize this is not a miracle. there was a solid basis. the other thing i want to say is that, you know, they're not many designers are around here changed the course of history. because when it comes to fashion, yes, there are lots of things that we see. lots of excitement, lots of fralala going on, but we do not often see things that you realize have captured the moment
in time. and that is what i think you'll find in this exhibition. but i do not want to talk anymore, because those are actually some of the believes that you have come to listen to jean paul gaultier and not suzy menkes. [laughter] so jean paul, i really wanted to ask you, thinking we're going through the exhibition from the beginning, the power you give women with the sexuality with the corsets, that actually was very much a reflection of what was going on when you did it. can you tell us about those madonna corset years? >> yes, it is a kind of a reflection of what is happening. also a reflection of -- [unintelligible] it means i have been educated with women. when were very important for me, my grandmother, my mother. they give me and show me threw
themselves an example of what women wear. women that were strong, a clever, human. and at the same time, sometimes stronger than men. so that i realized very quickly that women could be more interesting, more clever, because of maybe education or maybe because of the fact that they have not played football, to be quiet, you know, more into things to obtain. to obtain something. they have to be 10 times more clever than the men. they have everything it themselves already at the base. >> that we already know we are 10 times more intelligent. [laughter] >> yes. i mean, like, men did not realize that most of the time. even if the need.
the need, you know. so that, you know, truly, i felt the power of the woman. at the time, also like the woman at sleeve and that kind of thing. we admit -- we -- women reacting on taking out the bra and putting it on fire. the fire of the bra. a symbol. showing that we are as much as the men. maybe we first tried to look at men to see that we are equals. after that, it was one that would then it can be as mature, strong or whatever, than a man. but we also see the attribute of imagery, of seduction, which was exactly what was into it in madonna. >> so we can all understand.
when you saw madonna in her appointed course it, this was not the first time you had seen womens' underwear -- in her pointed corset, this was not the first emmy had seen women's underwear. you saw it with your grandmother and the work she did. isn't there a teddy bear in bastardi -- in the story? >> the teddy bear was there. [unintelligible] for a little boy, no, you cannot have a doll. you have to have a train. i was not traumatized by the train. maybe why do not drive. but also like a teddy bear. i cannot put it in a dress. i cut bras with newspaper or a magazine and would use pins to
make that bra. to me, it was like the silhouettes as of may be on the tv. we saw a lot of movies. so i tried to reconstitute the body of a woman. and -- >> how old were you at this point? >> i think i was around -- i was around, i was a round -- the teddy bear, i got it at 3:00, but i let him free at that time at the three years old. i let him free. i think i was around five years old that i started to take care of him. first, very important, i was -- [unintelligible] seeing on my grandmother. she had white hair. so i was putting on the the bear
a little color that was kind of blue. after that, i do not know why, but i said he has to change. so it was more red, which was a strong color, too. then i try to make it black. that did not work. the texture of the paintings, because i was putting paintings on him, did not go with it. so i had to destroy it and start again. blue, red, start again. all the make up was the makeup of my grandmother. you can see an exhibition a teddy bear. i should say that he is a little nice monster, but it is a little monster anyway. you know, i have some affinity with air. i'd love the air. i love to touch the air. >> i hope you like my hair, because of a drag queen's last night were trying to touch it.
[laughter] >> for the moment, i am not yet a drag queen. but you can look at that photograph of me. thank you for the inspiration. [laughter] >> well we are joking about the corsets, you say it had a message. it was not showing the women in their undergarments for sexual reasons. it was to show their strong women. certainly madonna personified that. >> definitely. >> was it actually madonna in in 1990, the blond ambition tour, but this was not the first time you had done these bras. there was a link with africa. did i get that right? >> i did not get the thing with africa. >> i thought that when we see -- >> yes, yes, 1985. the first corset dress, i did a collection. collections were big.
it was a mix of difficulty. and the lingerie. one part was the lingerie. i did it i think in 1981. i came out with the collection in 1982. of course, i was inspired by my grandmother. but something else. musical. i saw a musical in new york. something like about the life of fellini. they made a movie of it -- only a few years ago, which was not so good, but the play was excellent. it was broadway. there was one scene where all the women were preparing themselves for the show. all in corset, like satin, salmon color. and i was fascinated with it. i enjoyed the show, but i was only thinking about that, i must say.
after that, there was the corset of my grandmother, and at that i have to do it, but it will be a dress. i did attend different dresses. long, shorter, even like a gym suit. i didn't like my souvenir of the one of my grandmother. and it was -- i did it like my souvenir of my grandmother. and it was a lace up. there was a party at the palace, which was a club. she wanted to wear that. she cannot drink because i did it truly like a real corset. laced up all along the back. no drink, because to go to the toilet, what can she do? she could not put it back. [laughter] she would be in little to nothing. [laughter] >> the title of this exhibition is the idea of going from the
street to fashion. from looking at things that are in the street and turning them into fashion or is it the other way round. do you in fact look at the street and see immediately things that are already fashion? are you inspired by that? >> i should say that i have, to be honest, i did not see very clearly by what i was inspired. i do not know if there is, like, a first-time -- i think it can be everything. but i know i was touched by the things that i think a beautiful, and things that are from the street. like maybe why i also have a kind of obsession, i love to work with denim. it was not so well cena that time. i am born in 1952. in 1958, some boys had denim trousers. for my parents, they felt it was not very elegant.
so it was not so nice, not so clean. so me, i fantasy about it. and maybe i was looking more and people that were wearing that kind of close, sometimes going to buy a jacket. there is a movie of marlon brando. but i must say, i remember it was a time in the 1960's, it was some boy from the suburbs. i suppose little gangs who were supposed to be bad boys. maybe i was a very polite boy. i was a little fascinated by bad ones. [laughter] it came from my fascination with movies, with james dean, most of all marlon brando. all wore rebellious close. i find it very attractive and very interesting. very interesting. of course, i should say that i